Bibliography: Performing Artists
Updated January 24, 2019
Abdel-Latif, M. H. (1988). Rhythmic space and rhythmic movement: The Adolphe Appia/Jaques-Dalcroze collaboration. Ph.D. dissertation, The Ohio State University, Ohio. Dissertations & Theses: A&I. (Publication No. AAT 8907181).
Dale, M. (1992). Dancers, musicians, and Jaques-Dalcroze eurhythmics. Journal of the International Guild of Musicians in Dance 2.
Dale, M. (1993). Music for dancers: Dalcroze eurhythmics. Dance Magazine.
Enders, G. L. (1941). The place of Dalcroze eurhythmics in physical education” In Dance: A basic educational technique, F. R. Rogers. New York: Macmillan Company.
Farber, A. & Parker, L. (1987). Discovering music through Dalcroze eurhythmics. Music Educators Journal 74(3), 43-45.
Frego, R. J. D. (1999). Effects of aural and visual conditions on response to perceived artistic tension in music and dance. Journal of Research in Music Education 47(1), 31-43.
Gries, P. (1994). Teaching musicality through rhythm. Clavier, 20-23.
Hecht, P. A. C. (1972). Kinetic techniques for the actor: An analysis and comparison of the movement training systems of Francois Delsarte, Emile Jaques-Dalcroze, and Rudolf Laban. Ph.D. dissertation, University of Michigan, Michigan. Dissertation & Theses: 7214569.
Jaques-Dalcroze, E. (1920). The Jaques-Dalcroze method of eurhythmics; Rhythmic movement. New York: The H.W. Gray Co.
Jaques-Dalcroze, E. (1924). The technique of moving plastic. The Musical Quarterly, 10(1), 21-38.
Jaques-Dalcroze, E. (1930). Eurhythmics, art and education. Translated by F. Rothwell. London: Chatto & Windus.
Jaques-Dalcroze, E. (1930b). Eurhythmics and its implications. Translated by F. Rothwell. The Musical Quarterly, 16(3), 358.
Jaques-Dalcroze, E. (1930c). Remarks on arrhythmy. Music and Letters 14(2), 138-148.
Jaques-Dalcroze, E. (2000). Rhythm, music, and education, 5th ed. Translated by H. F. Rubenstien. London: The Dalcroze Society, Inc.
Jang, N. S. (2002). A personal collection of piano repertoire and pedagogy, based on and adapted from the work of Emile Jaques-Dalcroze. D.M.A. dissertation, University of Washington, Washington. Dissertations & Theses: A&I. (Publication No. AAT 3053516).
Kerr-Berry, J. A. (2001). Applications of Dalcroze eurhythmics to dance training. Journal of Dance Education 1(3), 106-114.
Lee, J. W. (2003). Dalcroze by any other name: Eurhythmics in early modern theatre and dance. Ph.D. dissertation, Texas Tech University, Texas. Dissertations & Theses: A&I. (Publication No. AAT 3095988).
McCoy, C. W. (1994). Eurhythmics: Enhancing the music-mind-body connection in conductor training. The Choral Journal 35(5), 21-28.
Mueller, S. (1984). “What dancers can teach pianists. Music Educators Journal 70(5), 54-55.
Palmquist, J. E. (1998). Dalcroze instruction: It's not just for general music teachers. American String Teacher 48(1), 59-61, 64.
Pennington, J. (1925). The importance of being rhythmic: A study of the principles of Dalcroze eurhythmics applied to general education and to the arts of music, dancing and acting. New York: G. P. Putnam’s Sons.
Rogers, C. M. (1966). The influence of Dalcroze Eurhythmics in the contemporary theatre. Ph.D. dissertation, Louisiana State University and Agricultural & Mechanical College, Louisiana. Dissertations & Theses: A&I. (Publication No. AAT 6701183).
Schnebly-Black, J. & Moore, S. (1997). The Rhythm inside – Connecting body, mind and spirit through music. Alfred Publishing Co., Inc.
Schnebly-Black, J. & Moore, S. (2004). Rhythm: One on one, Dalcroze activities in the private music lesson. Alfred Publishing Co., Inc.
Sheets-Johnstone, M. (1981). Thinking in movement. Journal of Aesthetics and Art Criticism 39, 399-408.
Thomas, N. (1995). Dalcroze eurhythmics and rhythm training for actors in
American universities. Ph.D. dissertation, Michigan State University, Michigan. Dissertations & Theses: A&I. (Publication No. AAT 9605956).
Turpin, D. (1986). Kodály, Orff, Dalcroze, Suzuki: Application in the secondary schools. Music Educators Journal 72(6), 56-59.